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Sunday, November 25, 2007
The Worth of a Writer
In a perfect world, every worker would receive what he or she is worth. But as we know, the world is less than perfect, and what someone is paid isn't always equivalent to the quality of their output. Some are obscenely overcompensated while others barely get two dimes to rub together. In the real world, few writers get paid the worth of a word, let alone the sweat equity required in putting words together to tell a story, paint a scene or just provide information in a context that won't put you to sleep. There's really a misperception out there that since everyone can put pen to paper, writing isn't really that much of a skill. Well, here's to the misinformed: writing IS a skill and not everyone can do it well, no matter how articulate they are or how many degrees they hold.
For those of us trying to make a living freelancing, it is more than discouraging to see ads requesting assignments where the pay is .01 a word or less. Imagine getting $10 for a 1,000 word article. That's insulting. And more than a few ads actually offer issues in lieu of actual money for payment, sometimes citing exposure as a lure. You all know what you can do with your "exposure." Don't get me wrong, exposure is fine, but it doesn't pay the bills.
And some of these same solicitors would probably complain that they just don't have the budget to pay writers what they are worth. Well here's a word to those folks - if you can't afford to pay them, don't advertise for their services. I can't think of any other profession where someone would request that a professional work for pennies or gratis. Hell, when I was editing my ezine in the late 90s, I could barely afford rent and yet I was paying freelancers about $250 - $300 an article - and we're talking less than 500 words. I know now that I overpaid in many cases and I don't expect that type of compensation now. But there has to be a happy medium somewhere in between. Personally I feel $100 for a 1,000 word article is fair compensation, and that is with or without "exposure."
Author Harlan Ellison speaks on this subject with more eloquence than I can. I snatched the vid from The Copywriter Underground.
Labels: Writing
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Sharon Cullars Coffee Talk at 11/25/2007 07:02:00 AM
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Saturday, June 16, 2007
Appropriating the "other" cultureMandolin over at Alas a Blog has written a great article to writers on what not to do when writing about someone else's culture. Labels: Culture, Writing
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Sharon Cullars Coffee Talk at 6/16/2007 10:45:00 AM
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Sunday, April 15, 2007
This is good for a snicker or twoFound this at hiphopmusic.com requesting a "ghost writer" for a "Black Middle Class Novel:" Serious Ghost Writer Needed Ghost Writer needed to do a Black Middle Class novel. Frankly stated, the writer must be able to write in the voice of an African American female. Your race dosen't matter, but your skill sets do! You must be a reader of Black Fiction.
Writer must have a degree in Creative Writing or a degree of equal concentration. Black Middle Class novel chapters 1-16 must be rewritten ( this is not copy editing) and the last 8 chapters need to be written. GW will have an outline for the last 8 chapters. The GW will also have to rewrite the 1st 1-12 chapters of Black Middle Class Drama. Writer must understand what it means to be a GW and have a good attitude. GW Must be able to do task quickly and efficiently. Turn around time for this project is 2 months! Writer must be able to meet one day out of 7-9 days with author to go over what has been done and to talk about what needs to be added or changed...
...Ghost Writer must sign a confidentiality agreement, complete a W-9 form, produce a valid driver license, social security card (which will be copied), and their references and educational experience will be checked.
* Compensation: $4,000.00-8,500.00I totally love the equal opportunity presented here for some unwitting writer, no matter what color, to be bamboozled. Personally, I think ghost writing is only okay when you're helping some notable somebody without skills pen their memoirs and definitely for a whole lot more compensation than being offered here. I think it's totally scammy to have someone else write your fiction for you. It's akin to people offering "a great story idea; all you have to do is write it." Writing fiction is hard, sometimes fruitless, work. And even if you can't get rich writing, at least you should have the satisfaction of attaching your own name to something you've written and not have someone else claim your words. Hopefully, no one fell for this pathetic scam. Labels: Writing
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Sharon Cullars Coffee Talk at 4/15/2007 02:24:00 PM
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Thursday, March 01, 2007
Want to publish? Podcast.The New York Times spotlights writer Scott Sigler, who frustrated by years of rejection from publishers of his sci-fi novels, decided to take his unpubs to the masses via his podcasts. And just like so many self-published authors have discovered, direct marketing works. Sigler began offering episodes of his first book, Earth Core, in 2005 and soon had a listening audience of 5,000. Last January, when he released his second novel, Ancestor, that audience had grown to 30,000. Those numbers caught the attention of at least one publisher. Dragon Moon Press, a Canadian company, optioned the first publication of Earth Core in 2005 and is scheduled to release Ancestor on April 1. Sigler is just one of a growing number of authors who are turning to the iPod to find their audience. As iTunes offers hundreds of podcasts for download as well as novels, the avenue makes sense to authors who refuse to be put off by mercurial New York publishers who want a sure thing before they take on an untested author. A grass-roots buying audience tends to negate publisher apprehension, as is the case with Sigler, who now has a New York agent and has signed with a major publisher for his latest, Infection. Podcasts are an attractive option for author wannabes because they can mix media, livening up reads with sound effects and music. Also, there is the expediency of instant download which overrides the often stagnating schedule of publishing backlogs. Author Mark Jeffrey, who offered podcasts of his novel, The Pocket and the Pendant, and has received three Hollywood screen options, says, "Even if a publisher said yes tomorrow, it would be a full year before the book was in the marketplace. Coming from the Internet, that was just insane to me.''
Those interested in taking the podcast road have an avenue in Podiobooks.com, created by Evo Terra, author of Podcasting for Dummies. The site currently offers 100 titles, mostly scifi and fantasy, but is open to all genres; the only prohibition is anything promoting hate speech. Sigler houses his podcasts here.
So, for those of you who have been sitting on manuscripts waiting for New York to take notice, you can make sure they do by building your own audience. Just get that microphone and mixer (some going as low as $50) and head over to Podiobooks.
Labels: Writing
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Sharon Cullars Coffee Talk at 3/01/2007 08:40:00 AM
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Wednesday, February 21, 2007
Literary sex - unsexy? The literati seem to have a problem with sex - or rather, a problem with writing sex. Just check some of the entries submitted for the Literary Review's Bad Sex Awards, given out for "crude, tasteless" sexual depictions in literature. Even the esteemed Tom Wolfe took the 2004 award for the following entry from I Am Charlotte Simmons: Slither slither slither slither went the tongue, but the hand that was what she tried to concentrate on, the hand, since it has the entire terrain of her torso to explore and not just the otorhinolaryngological caverns.If the above is representative of literary sex, then God yes! the literati have trouble with sex and eroticism period. Ponderous metaphors aside, why do literary writers have such a hard time writing about the act itself? Well, according to author Jane Smiley, for her it's the fear of being seen as prurient. Prose written to provoke sexual arousal seemingly runs counter to prose aimed to stimulate intelligent analysis and explore the depth of human emotions. But that's the irony - lust, desire, passion - the hallmarks of "lowly" genre works such as romance - are valid emotions. Writing about her latest work, Ten Days in the Hills, Smiley laments the explicitness of the sex in her novel, where she admits to the overuse of words like "penis," "labia," "erection," "moist," "swelling" and "big". Author John Updike's review of Smiley's novel said it "set a new mark for explicitness in a work of non-pornographic intent." Before Updike's review, Smiley was all right with the sex in her book, even in its explicit details, because during the course of writing the novel, the words eventually lost their shock value. But after reading Updike's review, the words regained their power to embarrass her and she began questioning her motive for putting "all that sex in there in the first place." Even in her second-guessing herself, at least Smiley confronts her embarrassment; other writers often attempt to mask their discomfort and embarrassment with painfully poetic phrasing, faulty metaphors, and other ineffective subtefuge, as though seeking to "hide" the act itself.
Smiley rightly points out that today's literary prudery was not an obstacle for literary greats of the past such as Giovanni Boccaccio, the 14th century author of The Decameron. Inspiration for Chaucer, Cervantes and Goethe, The Decameron was a collection of 100 tales about sex and love. Although allegorical, there was no stumbling, no prettifying. The tales are bawdy, erotic, guaranteed to have stymied the pens of some of today's literati simply because of their prudish discomfiture.
As for the question of whether sex and "true" literature are antithetical, note that sex has worked fabulously in previous literary works: Cleland's Fanny Hill, Lawrence's Lady Chatterley's Lover; Miller's Tropic of Cancer; Nin's Delta of Venus are prime examples. The use of explicit phraseology, and the intent to stimulate sexual desire, do not run counter to true literature. Which begs the question: can any of today's romance literature ever be considered "literary?" Although I don't know of any books offhand, I'm sure there are some that rise to the literary standards but are deemed not "worthy" because of the explicitness of the sex, the conscious intent to stimulate sexual feelings. If a book provides intelligent characterization and a story that inspires in-depth introspection, is its merits somehow obscured by use of words like "penis," "dick" or "fuck"? Personally, I prefer straightforward words than a metaphoric mouthful like otorhinolaryngological caverns. Literary esteem aside, I truly doubt Updike could write a good romance.
Labels: Writing
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Sharon Cullars Coffee Talk at 2/21/2007 04:37:00 PM
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Wednesday, January 31, 2007
Just trying something differentI've begun what I hope will be an ebook I can sell to a popular website for downloading. The story will be erotic as well as romantic, and I'm pushing the envelope here with a transvestite hero, which might be beyond a lot of people's comfort zone. But I want something edgier than just a conventional pairing. I actually got the idea for Neil from the 80's anime show Robotech which featured a beautiful singer named Yellow Dancer who in fact was an undercover male spy named Lancer. The character stayed in my mind all these years and I thought it was finally time to do something with it. Here is the first chapter. Let me know what you think. Chapter 1Raine shifted in her seat as the lights dimmed on cue, leaving the stage spotlight the only illumination. A mellow sax moaned and the rest of the quartet moved into a smooth intro, something unfamiliar, jazzy and soft, a come-hither strain that lulled the audience and silenced the specter of voices. A tinkling of glass at the next table (a toast?) was the only intrusion. A few moments passed, and the emcee stepped into the spotlight two feet away from a grand piano. Tall and svelte, the emcee’s pomaded dark hair and tuxedo beckoned an era of furs, champagne and diamonds, of Silver Cloud Rolls Royces and a collective innocence yet unsullied by wars and devastation. "Ladies and gentlemen, the Chanel Club welcomes the fabulous Cintra Wells just back from a smashing European tour where she dazzled the audiences around the continent. And she's here to dazzle us tonight, so let's give her a round of applause." The wave of clapping interwove with whistles and exclamations of "Cintra!" The emcee stepped off the stage and the show's headliner sauntered to the waiting spotlight. Cintra Wells' motion was fluid, her evening dress a thousand sparkles on silver mesh that clung to lithe curves. A deep red outlined a pair of sensuous lips out of synch with the angular lines of her face. Her blonde hair was reminiscent of Veronica Lake's, covering her left eye, flowing past her shoulders. She was a declaration of elegance. As was the smoky voice that moved into the melody laid out for her. Raine had come to the club with a dose of cynicism and more than a measure of curiosity. But her assistant Terri hadn’t lied. Here was a voice worth bargaining over. It hovered above a sultry whisper, than rose with a clarity that cried out for a lost love. And it trilled to her soul as though it were calling out only for her. She shook the thought away.
The song died softly, leaving an expectant pause which a wave of enthusiastic ovation filled. In the midst of the clapping, the pianist struck a chord, cueing in another song, signalling the audience to silence again. Cintra’s voice took over, was less throaty, lighter, but still rife with a sadness that overwhelmed Raine.
No matter the cost, she had to get this singer for her club. She already had a line up of two jazz singers, but needed to build. Earlier in the afternoon, she’d sidled up to one of the band members to get more info; their gig here was up in another few weeks with nothing lined up after. Even then, she wasn’t sure they would do, but now her uncertainty wailed out on the riff of the ballad. Cintra Wells would pack them in.
Not because she was a beautiful woman with amazing pipes.
But because those amazing pipes didn’t belong to a woman at all. Beneath that gorgeous façade beat the heart of one Neil Williams, transvestite extraordinaire.
The audience were conspirators in the illusion. To them, Cintra Wells was a chantreuse who could break the hearts of men and make women question their femininity.
Her eyes fixed on the illusion, Raine felt underdressed in her own black dress. She sat silently, an elbow on the table next to her glass of Tangeray and whispered beneath her breath, "Beautiful." Even as she allowed herself to be entranced by the fantasy, she wondered at the pull. It was almost Sapphic.
She hoped that she...he...that Neil Williams would be able to meet with her soon to discuss business.
#
Neil sat at the mirror contemplating the lines in the powder covering his five o’clock shadow. They were cracks in the façade, a peek behind the illusion. He wiped his face with a tissue doused with aloe cream, removing the last of the mask and stared at the reflection of a twenty-nine-year-old man, all hard lines and dead eyes. He peered at the blue irises; well, not exactly dead, but eyes tired of a world they’ve been forced to look at too long.
The wig sat askew a head mannequin sitting on the corner of the small dressing table already overrun with makeup and paraphenalia. The accommodations here were cramped and inconvenient. He reached behind his head to release the rubber band that had been holding his blonde hair in a loose ponytail; the hair fanned out over his shoulders. Hell, pretty soon he could wear his own hair but the idea was.
The door opened and Max stepped in, shutting it behind him. He still had his sax strapped on, even though their last set was nearly forty minutes ago.
"Cin-man, gotta talk to you."
"What about?" Neil swiveled his seat and leaned back in his chair as his bandmate sat his lanky six-foot-three frame on the dingy blue loveseat and finally unstrapped the sax. He lay his precious "Sexy" on the floor.
"Another gig. Some woman came up to me tonight, said she's got an opening at a blues club called Raine's. Said she's looking for something different, something to spice up her lineup." Max smirked at that.
"Yeah? What else did she say?"
"Asked what it'd take, and I told her. Actually, I padded it a little. She didn’t even blink an eye."
"For how long?"
"She says a month to start, then we talk extension later on if things work out. Look, Europe was fine for wine and song, but that money's long gone, man, and Kieran ain't paying up like he promised. I'd like to know if I'm gonna have a roof over my head come November." He reached inside his pocket, pulled out a card. "Here, she left her number. I think we should at least talk to her." He reached over to hand the card to Neil.
Neil read the name. Raine Gayle, proprietor of Raine's Blues, "where rainy day blues are sung away" Phone: (312) 552-6889.
"Is she for real?"
Max shrugged. "Can't help what folks name their kids. She seems legit, though. All I'm saying is just let's talk to her. We got nothing to lose just talking."
Neil sat motionless for a second. Then he folded the card and tossed it over his shoulder. It landed on top of the wig.
Max stiffened. "So what? You’re not gonna even consider it?" Neil saw the tell=tale tic above Max’s left brow, a sure sign his temper had surged.
Neil drew in a deep breath, sat forward. He'd planned to the talk with the guys after the gig, but Max was forcing his hand with this new offer.
"I know this is a bad time to spring this on you and the guys, but look, this just isnt working for me anymore. I’m tired of this freak show, man, tired of the wigs, the dresses. Tired of singing like a bitch. That just ain't me, man."
Max sat immobile a few seconds, but didn't stay stunned for long. That tic was doing double time.
"Look, I know the show's getting old. But it's working for us right now. And we gotta work, no matter what. If we go back to the way it was, with just a jazz quartet and nothing more, we're just four more bodies out there doing the club circuit. I know this is a freak gimmick, but it's a good one and it gives us an edge."
"Yeah, some edge. Yet I'm the only one getting cut here. Look, I don't want to shaft you and the guys, so I'll give you time to find someone else. But after that," he shrugged, "I'm gone."
Max's brow were knit together, the lines above them deep grooves. "Man, this is so fucked, you know that? You're leaving us ass up, hole wide open. Who the hell is going to take your place? Your name’s a brand and the audience expects Cintra Wells - nobody else - to front when we step on stage." He stopped, his expression changing as something began dawning. "You're planning on filling another spot, aren’t you?"
He hadn't counted on anyone figuring out his game plan this early on. It put him in the uncomfortable position of having to lie.
"No, there's no other spot. I'm just tired, man. Can't you accept that at face value?"
"Neil, the one thing I've learned working with you these five years is that nothing is just face value with you. There's always something else going on. You know what? I'm done. Fine. You're leaving, you tell Stevie and Janyx. You're finishing out the contract, at least, right?"
Neil nodded. "Yeah, I wouldn’t do you like that."
"Do us like what, man? Oh, you mean stab us in the back. No, we'd never think that of you. You always do us right as rain, man, right as rain."
Max sighed, picked up his sax and stood. "You do what you gotta do. And we'll do what we have to to survive without you. Like you said, you're not the only bitch out there."
The last words were a deliberate kick to the groin. Well-deserved.
Neil swiveled his chair back to the mirror, looked into the eyes of someone he barely knew.
Labels: Writing
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Sharon Cullars Coffee Talk at 1/31/2007 03:26:00 PM
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Friday, January 26, 2007
Is your book Oprah-worthy?Found this quiz over at The BackList. I scored a 6, but you may do better. According to the test, any score below a 13 is a no-show on Oprah, so you won't see me gracing her plush guest chair anytime soon. Maybe if I wrote an inspirational tale of a hermaphrodite with identity issues who is bipolar but who manages to overcome the dichotomy of his/her life... Labels: Writing
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Sharon Cullars Coffee Talk at 1/26/2007 07:41:00 AM
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Friday, January 19, 2007
Take the 69 Test And no, it has nothing to do with a certain erotic position. This is purely literary. Found the test over at Cabbages and King, the blog penned by writing sister team P. J. Parrish, who got the test from Marshal Zeringue. Here's the gist of the test: take a book, any book, pubbed or not, and turn to page 69. Read the page, or just a few lines (the sisters say if 69 is blank, it's ok to use page 68 or 70). According to Zeringue, who created the test, page 69 should capsulize your book. He in turn was inspired by Marshal McLuhan, who suggested that you should read page 69 of any book and if you like that page, then it's OK to read the book. The sisters Parrish did their own test with An Unquiet Quiet and seemed impressed with the results. So, I decided to do my own test with my recently received ARC for The Object of Love. I turned to page 69 and here's the first complete paragraph on the page: Her hands found the top button of his coat, nearly ripped it out of its catchhold. He stepped back to finish her task, his hands impatiently working the rest of the buttons until he could finally rid himself of the woolen barrier. He threw it unceremoniously to the ground.The last paragraph begins: "Touch me, Lacey," he whispered. The need in his voice, the way he said her name, was raw and naked. As naked as the skin beneath her exploring fingers - the smooth flesh of his chest over hard and firm muscles; his stomach, lean, just a trace of soft down around his navel; travelling further downward...OK, I'm impressed. Ironic, ain't it? Labels: Writing
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Sharon Cullars Coffee Talk at 1/19/2007 04:16:00 PM
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Saturday, December 02, 2006
Some words of wisdom for us writers......from bestselling author J. A. Konrath: It's true. It's all true. And I'll validate it for you. You have no talent. You're never going to succeed. Your agent isn't doing shit for you, and you won't find anyone better. You can't make a living at this. You're not a real writer. Your publisher isn't behind you. Your work-in-progress stinks. Your peers don't respect you. The bad reviews are true. Everyone is doing better than you are. You're fooling yourself. You'll never get another contract. The whole world knows you suck. Your last book was better. No one else struggles. You need to quit, because you don't have what it takes. Loser.
You done? Got that out of your system? Good.
Now quit being a whiny little baby and go write.
Labels: Writing
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Sharon Cullars Coffee Talk at 12/02/2006 01:50:00 PM
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Thursday, November 30, 2006
Annual Bad Sex AwardI'm sure new author Iain Hollingshead (interesting name) didn't vie for this particular literary award, but it's been bestowed on him anyway. The Literary Review's Bad Sex in Fiction award is a dubious distinction, but hey, it might just boost book sales for Hollingshead and that can't be bad for him. Here is a scene from his Twentysomething that won out over the also-rans: But the peck on the cheek turns into a quick peck on the lips. She hugs me tight. I can feel her breasts against her chest. I cup my hands round her face and start to kiss her properly, She slides one of her slender legs in between mine. Oh Jack, she was moaning now, her curves pushed up against me, her crotch taut against my bulging trousers, her hands gripping fistfuls of my hair. She reaches for my belt. I groan too, in expectation. And then I'm inside her, and everything is pure white as we're lost in a commotion of grunts and squeaks, flashing unconnected images and explosions of a million little particles. (last part sounds kinda nuclear to me) Here are some other entries:
Black Swan Green by David Mitchell (Sceptre) If Dawn Madden's breasts were a pair of Danishes, Debby Crombie's got two Space Hoppers. Each armed with a gribbly nipple. Tom Yew kissed them in turn and his saliva glistened in the April sun. I know watching was wrong but I couldn't not. Tom Yew slipped off her red panties and stroked the cressy hair there.
'If you want me to stop, Madam Crombie, you have to say now.'
'Oooh, Master Yew,' she croodled, 'don't you dare.'
Tom Yew got on her and sort of jiggled there and she gasped like he was giving her a Chinese burn and wrapped her legs round him, froggily. Now he moved up and down, Man-from Atlantisly. His silver chain jiggled on his neck. (Man-from Atlantisly? That should have gotten him the second place award)
Now her grubby soles met like they were praying.
Now his skin was glazed in roast pork sweat.
Now she made a noise like a tortured Moomintroll. (WTF?)
Now Tom Yew's body jerkjerked judderily jackknifed and a noise like a ripping cable tore out of him. Once more, like he'd been booted in the balls. (Again, WTF?)
Her fingernails'd sunk salmony welts into his arse.
Debby Crombie's mouth made a perfect O.
Against the Day by Thomas Pynchon (Jonathan Cape)
"Mouffette? She's a papillon ... a sort of French ladies' lapdog."
"A - You say," gears in his mind beginning to crank, " 'lap' - French ... lap-dog?"
Somehow gathering that Ruperta had trained her toy spaniel to provide intimate "French" caresses of the tongue for the pleasure of its mistress.
"Well! you two are ... pretty close then, I guess?"
"I wuv my ickle woofwoof, ess I doo!" (can someone say ewww! What is Pynchon smoking these days?)
Some more entries.
Labels: Fiction, Sex, Writing
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Sharon Cullars Coffee Talk at 11/30/2006 05:09:00 PM
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Tuesday, November 28, 2006
Writing the OtherAuthor Maurice Broaddus has a good post today about white authors writing black characters, particularly in horror fiction. He writes: In the stories I read, white characters don't announce their whiteness or make note that they were talking to other black characters. Yet, when "an other" enters the scene, race is automatically ascribed. (I know there is a Harlan Ellison quote about this, but I can't recall it right now). I'd notice a tendency to "announce" the race of my characters in my own stories, something that never came up when my fellow black horror writers were discussing writing black writers. So, assuming the posture of the majority, maybe I should only announce the race of a character when a white person enters the scene. Read the full post.
Labels: Race, Writing
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Sharon Cullars Coffee Talk at 11/28/2006 09:37:00 AM
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Friday, November 17, 2006
Mat Johnson preaches on self-publishing... ...and how it is ruining a generation of black writers. He discusses the subject at his blog Niggerati Manor with the subtitle: Why I Am a Much Better Writer Than Omar Tyree. And Why Omar Tyree Is a Much Better Business Man Than I Am.The author of the acclaimed Drop tells of his initial attempt to write a first novel and the subsequent, painful realization that he had skills enough "to write shitty commercial pulp" but not a "serious work of literature." His epiphany preceded the print-on-demands and the cheaper self-publishing outlets like iUniverse, for which he is grateful because he admits he might have gone that route and settled for mediocrity. Instead, his literary failure forced him to strive to become a better writer by enrolling in an MFA program. It took him four years to complete the program, but during those four years he became a stronger, more polished writer. He surmises that if he'd had the option of self-publishing, those four years "would have been spent on learning book marketing, promotion, publicity, audience identification, and all of the other many aspects of the publishing world. My time would have been spent traveling around with boxes of books in the back of my car, hand selling the thing to black bookstores and barbershops and churches, attending every cheesy promotional event I could find just to get White Chocolate Melts out there, no matter how flawed it was. I would have created press packets and done mailings and been out there schmoozing, trying to sneak my way onto every local TV and radio station I could find.
"And at the end of that four years, I would probably have several books, having written them in a month or two to expand my product line. And with no real time for craft and my attention completely focused on the market, each would have sucked roughly as much as the first one. Having spent the bulk of my energy on the commerce instead of the art, I would have remained the same shitty writer I was when I started. The moment I chose to self-publish, I would have ceased to make substantial growth. I would have virtually calcified ."
Johnson's candor is bound to rile those who have taken this route, and yet he speaks the truth in a lot of cases. Self-publishing is a dicey enterprise because there is the danger of self-delusion about one's ability and much more time has to be focused on marketing efforts than honing the craft. On the other hand, many good works might not have ever gotten into the public's hands without the self-investment their authors took (we all know the story of the Celestine Prophecy).
As for the subtitle, Johnson might want to stay as far away from brother Tyree as possible. Although, you never know, Tyree just might agree with him.
Labels: Writing
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Sharon Cullars Coffee Talk at 11/17/2006 07:47:00 PM
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